HWR RELEASES...

Jeremy [Six Strings]: Can you tell us how you got involved on this project THE WANDERING EARTH. and how you approached this score musically?

Roc Chen: About 14 years ago - how fast time flies - I wrote a book on how to use a Digital Audio Workstation called Adobe Audition, published by Posts and Telecom Press Co, one of the biggest publishing companies in China. The book was highly acclaimed and inspired many musicians to incorporate the Adobe Audition software in their creative process to make their music better. Fortunately, Gong Geer, the producer of THE WANDERING EARTH, was one of those readers of my book. It was through him that I got to know the director of THE WANDERING EARTH, Frant Gwo, and the three of us have built a very trusting relationship.

Jeremy [Six Strings]: Can you share something that happened behind the scenes on THE WANDERING EARTH, something that is not covered in your bio, and a favorite composer and why?

Roc Chen:On a sunny afternoon, I met director Frant Gwo for the first time in his studio. He said, we are making a sci-fi film, but we want to do it a little bit differently. The idea of THE WANDERING EARTH is that when our solar system is having a crisis, we don’t build rockets and fly away. Instead, we choose to install engines, transforming the Earth with the ability to wander through the solar system. Why would we want to leave the solar system on our home planet, not because a lot of us just finished paying off our home mortgage, but because of our love and emotion for this beautiful planet which we call home. Humans have a deep emotional connection with Earth. It’s so deep, that even when disaster threatens the balance, we'll leave with our home.

These ideas and words deeply touched me and I was greatly inspired. So much so that I wrote a melody on the taxi ride home. After a few days, I received the film clips and was totally fascinated by the city-sized planet engines, visual effects, etc. Seeing all the spectacular pieces of this film, I was blown away and knew I had to rethink what I wrote in the taxi and I went ahead to write a new theme, sort of like those superhero themes. My fellow musicians thought it was great, but I was concerned and not quite happy until I realized a superhero theme wasn’t THE WANDERING EARTH; it should feel like the Earth is conquering the entire universe! So I went back to the original melody I wrote in the taxi, where those first seeds of inspiration were planted, and I played it on a piano for the director and right after I finished, he said "I’ve got goosebumps all over me now".

Thus, this emotional melody become the main theme of THE WANDERING EARTH and you can hear it in the opening title scene, where Earth starts to sail along with the gentle speech "Goodbye, Solar System..." The Royal Philharmonic Orchestra's performance of this cue really enhanced this epic but sad moment for all humankind.

Another fun story from behind the scenes happened while we were recording piano at Abbey Road Studios. At first I played the piano as my eyes watched the film clips. It was ok, but some notes weren’t quite synced to the picture. We tried several times with the same issue, so Frant had me turn off the monitor and focus on pouring the emotion out of my fingertips. The results were perfect - great sound and rich in emotion! Frant told me, "All the notes are synced more accurately to the picture now."

My favorite composer is Claude Debussy, I love the color, pattern and the change between light and darkness in his music, it's like watching a beautiful painting of Monet.

Jeremy [Six Strings]: What are you hoping the fans of this project THE WANDERING EARTH, from film to score, will walk away with musically?

Roc Chen:Although it's music written for a sci-fi film filled with action and visual effects. I still hope it sparks an emotional connection with fans. Gladly, I see many fan-made videos with the main theme music in the background. I also see many fans who are talented musicians playing the main theme on all kinds of instruments. I heard many people were brought to tears at the climax of this film, where the music is just a simple piano (the cue is "Farewell Under the Stars".) We planned this nearly silent, intimate piano moment without any sound effects, in hopes the audience would hear their own breath, or have reflections on their own stories. So I hope the music of THE WANDERING EARTH will continue to touch the hearts of people and connect to their own stories.

Jeremy [Six Strings]: What will you personally take away from this project THE WANDERING EARTH and how did this help build to your next project?

Roc Chen:Always follow your instinct and write not from your brain, but from your heart.

THANK YOU! Check this out, this film has grossed 700 Million Dollars [CLICK HERE] and it was a complete honor to share this with you. Also get this score released on MILAN RECORDS, THANK YOU to them for helping set this all up...

Jeremy [Six Strings]: Working with several television shows, and now being brought back to a familiar scene, ARRESTED DEVELOPMENT... How does that feel? What were your first thoughts when you got that call?

David Schwartz: Any time I get the AD's call, it’s a cause for celebration! Since ARRESTED never really goes away, it doesn’t feel like a re-boot. That said, I’m always trying to build on the music from past seasons and hopefully improve it.

Jeremy [Six Strings]: How do you prepare for this? Were you told any direction to move or just following past seasons of your contributions to ARRESTED DEVELOPMENT?

David Schwartz: Mitch Hurwitz, the creator/genius of AD, and I have developed a very unique shorthand after 15 years. It actually goes back longer than that, as I have done four or five shows with Mitch. We spot each episode and that’s where his direction comes from. We try a lot of different things. This season, there was less direction than in the past. That may have resulted in me being a little harder on myself, or at least trying to write a couple of different options for the scenes that I could see going in a couple of different directions.

Jeremy [Six Strings]: With shows like ROSEANNE, WILL AND GRACE, and a few others, do you think the future holds more of making a return after a long hiatus, and what show would you like to see on the comeback?

David Schwartz: I keep hearing about my first show NORTHERN EXPOSURE returning… I would be absolutely thrilled! NORTHER was a hit, but there was another show I did way back when, called MAXIMUM BOB. It starred Beau Bridges as a Florida Judge who always gave the maximum sentence. It only lasted one brief season, but it was way ahead of its time. I’d love to see that show come back!

Jeremy [Six Strings]: Ask yourself a question that you wish people would ask... that they haven’t.

David Schwartz: Well, now that you ask, I wish people would ask about another series of mine, THE GOOD PLACE. I am so fortunate to be composing on two series that I absolutely adore. THE GOOD PLACE is very different from AD - I’m using a very limited palate, and only certain styles of music work for THE GOOD PLACE. That said, within those limitations, there’s still a great deal of variety and creative freedom. Both shows have brilliant show-runners, great writers, and exceptional casts, so it’s easy to stay inspired.

Jeremy [Six Strings]: Who are some of the influences/people you wanted to meet in composing, that you would love to meet?

Jeremy [Six Strings]: Can you tell us how you got involved on this project DJINN and how you approached this score musically?

BC Smith: I received a call from one of the producers asking
me to demo a scene from the film for a music meeting the following day.
The filmmakers were feeling that the movie wasn’t scary enough and
wanted to see what a modern synth-based score might sound like. The
meeting was in Abu Dhabi, so they actually needed it in a few hours. I
was a fan of Tobe’s work, so I happily banged out music for the clip and
sent it off. I didn’t hear a word for months, until I was asked to fly
to Abu Dhabi for a spotting session.

Though the movie takes
place in the UAE, the filmmakers didn’t want to use any regional sounds
beyond the Lullaby motif that occurs throughout the film. Salama's
themes needed to be beautiful, sad and resonate with all audiences. It
was also very important that Um Al Duwais didn’t devolve into a
horror villain caricature. The Djinn are a part of Islam and needed to
be handled respectfully. It’s a bit of a daunting task, if you think
about it. Luckily for me, the constraints and limitations of
a project often fuel my creativity and I quite enjoyed the challenge.

As
with most of my scores I created a sound pallet from scratch to give
the movie its own vibe. Much of the tension in the film comes from
Salama slowly losing her grip on reality. The score has a dreamlike
quality that turns harsh, as the story unfolds and Um
Al Duwais's motivations becomes known. To me, Salama's fear shouldn't
sound like conventional orchestration or writing. It needed to come
from a much darker place, from the horrific secrets she carries. With
that in mind, I liked juxtaposing Salama’s tonal and beautiful themes
with atonal and noise-based elements. Salama is alone for much of the
film, and I also used silence as a part of the composition
to underscore that isolation.

It was a given that the music
needed to raise the fear factor, but it was also equally important that
the audience felt empathy for Salama. The audience really needs to stay
on her side, despite the implications that she might have been complicit
in the death of her child. This film is really about two mothers'
grief. How that grief manifests brings about some scary consequences.

Jeremy [Six Strings]: How much interaction did you have with this project DJINN from director (Tobe Hooper) to the producers?

BC Smith: I came on DJINN very late in post.
There were revisions with the edit, and lots of new special effects work
were in the process of being completed. I think it had been in and out
of post for quite some time.

By this point in the process, I
had missed the traditional composer-director collaboration, working in a
"bubble" time-frame. Given that producers were all based out of UAE,
outside of our spotting session, all the contact and approvals were done
by email. This is not an unusual scenario for me, given the way movies
are made these days. I work on projects from around the world, so I’ve
become quite adept at creating a workflow that makes everyone
comfortable.

DJINN was a situation where the filmmakers thought
things weren’t scary enough, and the plot wasn’t flowing. Most
everything I sent off was lifting the film to where they wanted to go,
so approvals went very quickly. To be honest, I had very
little interaction with anyone. There really wasn’t a lot of back and
forth. It was mostly, "we like this..., or "give us more..."
Unfortunately, Tobe passed away before I had the opportunity to meet
him in person.

Jeremy [Six Strings]: Did you work with anyone on this project DJINN, and can you also share any stories good or bad or both?

BC Smith: It was decided early on that it would
be an electronic-based score. By nature, that cuts down the amount of
musicians I bring on the project. I worked with my engineer Bob Demaa,
who mixed and created some of the synths I used. He had just broken up
with his girlfriend, and was channeling some anger that really benefited
the film. We’ve had a good laugh about it in hindsight. I also worked
remotely with the amazing vocalist Azam Ali. She truly captured both
Salama's grief and Um Al Duwais’s fury. I’m recalling that she was in
the middle of a burst water pipe in her studio. Like Bob, it’s possible
that outside stress contributed to her emotional vocal performance.
I’m really only speculating, as she is the consummate professional.
Regardless, I was very grateful she was able to work the project into
her schedule. She is a phenomenal talent. It’s such a pleasure to
receive a remote track that exceeds what you hoped you could get.

Jeremy [Six Strings]: How did you decide that Howlin' Wolf Records was the place to release this project DJINN?

BC Smith: I had a few conversations with a
friend about which label might be right for the project. I reached out
to directly to Wall from Howlin’ Wolf after the recommendation. From
our first conversation, I liked Wall’s thoughts on everything. I didn’t
need to look elsewhere. The licensing agreement is complicated so it’s
a very small, very limited release. Some might think that makes it a
release not worth pursuing, but I believe that Wall felt that the
limited aspect is what makes it kind of special. That is certainly the
approach I took, and I’m grateful to Wall and everyone at Howlin’ Wolf
for their patience and tremendous support. They also brought on Javier
Burgos to design the CD packaging. He is brilliant and so easy to work
with. I loved everything he created.

Jeremy [Six Strings]: Can you share something about music, that is not covered in your bio, or a favorite composer and why?

BC Smith: I’ve played synths and keyboards on
records for a bunch of bands including Good Charlotte, Hollywood Undead,
Dashboard Confessional, John Doe, Bon Jovi, the Veronicas, and many
more. It’s mostly been a situation where a band wanted to add
interesting synths and electronics to their songs, but I’ve also done
some string arrangements, I grew up playing in rock bands so it’s an
enjoyable thing for me to do. I’m proud of the work but not sure if
it’s relevant to my film scoring career, so I leave it off
my propaganda. Also, not noted is that I’ve written a couple batches of
cues for music libraries and that work has found its way into a huge
amount of TV shows from around the world. I’m surprised at how much it
continues to get used. It has to be in the hundreds of episodes across
all manner of TV.

At heart though, I’m really a bespoke
composer. Every score of mine is different and crafted uniquely for the
film. That is what I like most, and what I do best.

Regarding a
favorite composer of mine: I’m a big fan of film music. When done
well, it's a bridge to empathy and connection with the characters and
story. I love the scores of Goldsmith, Hermann, and many of the
classic Hollywood composers. That being said, film scores are an
evolving art form and I also tend to gravitate toward those that
continue to push the boundaries and defy convention. Jóhann Jóhannsson
was a favorite of mine. I loved his versatility, working with both
electronics, live players and orchestras. I also try to cultivate that
same scope and diversity within my scoring projects.

Jeremy [Six Strings]: What are you hoping the fans of this project DJINN, from film to score, will walk away with musically?

BC Smith: My job is to help tell the story of
the film with music. My hope is that from the very first sounds of
malevolence, churning synths and Azam’s haunting voice, the audience
is transported into the world of the film. With Tobe’s death, the
industry lost an icon of the horror genre. DJINN holds a special place
in Tobe’s legacy as the last project he completed. Pushing for a
soundtrack release was my own personal way to honor that legacy. This
CD is such a small thing, but something tangible folks can hold onto. I
hope the soundtrack resonates with his fans and the
limited availability makes it something special.

- What will you personally take away from this project DJINN and how did this build to your next project?

BC Smith: One of the joys of my career has been
the diversity of films I’ve scored. It’s been quite a fun ride. While
composing for DJINN and another film, WEST OF REDEMPTION, I discovered
that I really like scoring suspenseful films. I’m always fascinated by
the psychology of how and why music works in film, and within that genre
there just seems to be an incredible amount of creative opportunity for
music. I probably approach things differently than a traditional
genre composer and I’d really like to explore that world further.
Specifically, I’d love DJINN to build toward scoring more spooky
films.

Jeremy [Six Strings]: What do you hope you will see by the end of 2019; from your music, life or in the world?

BC Smith: In the world and particularly the US
there is lot of divisiveness. Life is not a zero-sum game and it’s very
unfortunate that our government is sowing such a fear-based, discordant
mentality. I’m troubled, but also motivated to action now. We need a
return to kindness and compassion. We need to take care of our planet.

I’m
very happy work in an industry that provides a bit of escapism for
folks. My musical goals are simply continuing to attract interesting
films to score. I also have a very exciting collaboration with
Alessandro Cortini from NIN. We’ve done some really great film and
commercial work together, and have more on the horizon. He’s just come
off the road so we’re considering our next projects and hope to find a
good sci-fi film to score together.

BC SMITH: From his first film score, Chris Eyre and Sherman Alexie’s
SMOKE SIGNALS (Sundance Film Festival’s Audience Award and Filmmaker
Trophy winner), to horror master Tobe Hooper’s final film DJINN, to
Steven Cantor’s Hulu documentary BALLET NOW, BC Smith is one of those
rare composers firmly entrenched in a world of diverse and eclectic
musical styles.

Whether working with modular synthesizers,
multifarious ensembles, large orchestras, peyote singers, aleatorics or
bespoke electronics, BC approaches every movie from its own unique
perspective, creating an original sonic pallet and score that is truly
born from the film's story and aesthetic.

His
love of pushing boundaries has led to his ongoing collaboration with
Nine Inch Nails / How To Destroy Angels multi-instrumentalist Alessandro
Cortini under the nom de guerre ACBC. Winners of a bronze Clio and
silver Eurobest Cannes Lion for their music, their international
projects include Gus Van Sant and Martin Werner directed campaigns for
BMW, the award- winning 8 part Woodkid directed films for Rihanna’s
album ANTI and the firefighting documentary BURN, winner of the Tribeca
Film Festival’s Audience Award.

Currently, he is delivering his
score to the sci-fi film ALT starring SALEM'S Elise Eberle and Sloane
Morgan Siegel, collaborating with Steven Cantor again for the
documentary HOOD RIVER and attached to score the family autism drama
LANGUAGE ARTS.

BC is also an accomplished amateur magician and
member of the Academy of Magical Arts world famous Magic Castle. He
specializes in intimate curated evenings of close up magic, haunted
artifacts and paranormal entertainment.

His wife is a commercial airline pilot and when he’s not scoring films, they travel globally with their five-year-old son.

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